Damon Albarn chuckles. He has just fluffed a line in ‘Tender’ but as the London Community Gospel Choir’s soulful voices sing, you can’t help but smile. Blur have come together once more to entertain the masses. This live album was recorded on the second night at Wembley, just over a year ago, on Sunday 9th July 2023. I was lucky enough to be in attendance, and have fond memories of a gloriously warm summer evening, in my mind there’s a hazy warmth and a sepia tint like a cherished Polaroid photo or an idyllic childhood dream with a fantastic soundtrack and plenty of smiles throughout.
But this was no dream, the gig has been documented on this live release, which also includes a three-LP set. The mood of the gig was joyous and celebratory which was a feeling shared equally by both the band and the 90,000-strong crowd. Blur’s last tour was in 2015 and the time apart seems to have made Damon Albarn, Graham Coxon, Alex James and Dave Rowntree appreciate their time together. The band has been fractious at times in the past, so it was fantastic to see them all visibly enjoy it so much.
There is a risk, of memories deceiving you, you get swept up in the moment and in the cold harsh light of the day, the gig doesn’t sound as good as you thought. Thankfully, I’m happy to report this isn’t the case here. The gig is recreated faithfully, with its rawness and feeling intact. Damon’s vocal slip ups and crowd interactions have all been included, including his understanding of the history of Wembley, whilst sipping his sage tea. He describes them as digressions, but I disagree, they add character, comedy and charm between songs.
The purpose of the tour is to promote their new album, the fantastic The Ballad of Darren, but in reality, it is a greatest hits setlist, spanning all but one of their nine album discography (2015’s The Magic Whip, since you asked). There are thirty songs on the Spotify version, including four extra tracks, one from each of their warm-up shows. The setlist caters for everyone with deep cuts (‘Villa Rosie’, ‘Trimm Trabb’), fan favourites (‘Coffee & TV’, ‘Tracy Jacks’) musical interludes (‘Lot 105’) and of course popular hits (‘Parklife’, ‘Country House’). With a thirty-song album, there are too many to cover them all, and it would be impossible to give them all the justice they deserve but I will pick out some highlights.
‘St Charles Square’ opens the set, with Damon declaring “I f*cked up” and Graham’s guitar grinding in unison. The new songs from the latest album blend effortlessly into the set, already feeling like old friends. The ‘Beetlebum’ guitar riff is more hacking live, and it contrasts with the soothing chorus and its soaring vocals. The song’s outro is intercepted with interference from a distorted radio before crashing to a climax.
‘Stereotypes’ is pure Britpop, with angular guitar combined with a delicate synth and pseudo-erotic lyrics based on British life. “There must be more to life / all your life you’re dreaming / then you, stop dreaming / from time to time you know you should be going on another bender” encapsulates how adult life can serious and normal adult life can be. Wise words, that if you’ve lost your dreams and passions, maybe try and reconnect with yourself, albeit the suggested heavy drinking session is not recommended for all.
‘Under the Westway’ is the highlight it’s backed here with strings, and it is aching beautiful. Blur’s poetic love letter to London, details the pubs and bittersweet moments, however, the love is still there. “Now it’s magic arrows hitting the bull / doing one-eighty, still standing at last call / when the flag’s coming down / and the last post sounds just like a love song / for the way I feel about you / paradise not lost, it’s in you.” Post-song, Damon collapsed into a heap on the piano, with tears rolling down his cheek after delivering such an emotional performance as extended applause continually circles around him. It’s the moment of the gig, at times Damon is full of bravado, but here he feels naked and exposed and his genuine emotions electrify the music.
‘Song 2’ is all frenetic fuzz and a gigantic crowd woo-hoo’ing at the top of their collective voices whilst pogoing away. The sound from the crowd is so loud it must permeate across London and reach the suburbs. The rich variety of tones Graham produces across the song is impressive, giving songs extra impact from their recorded counterparts and adding to the live feel. A simple guitar line punctuates the start of ‘The Narcissist’. Damon sings whilst Graham provides backing vocals. This song has the ability to sound very much like a retro Blue song, whilst simultaneously having a very modern sound. It’s not nostalgic, it’s forward-facing and it’s superb.
Damon’s greatest gift as a songwriter has been his ability to create characters and imagine what their life involves. The sleepy dad in ‘Sunday, Sunday’, the successful fella in ‘Country House’, and the observer in ‘Parklife’ and via these individuals he tells stories of their mundane lives. However, he is at his most authentic when he places himself at the centre of the songs and speaks from the heart.
The Wembley gig ends with ‘The Universal’ with full-string backing. The song builds, slowly before gently sweeping into a crescendo. A song about a future world, which is free, and a little dystopian. The crowd joins to sing the hopeful chorus lyrics, it’s a moving song, and the ambiguous lyrics allow for individual interpretation which adds weight. It’s a stunning performance and a fitting conclusion to the live gig. The album contains the finest melancholic Blur songs, which regular readers would know I am a huge fan of. Damon has a gift for delicately balancing longing with the green shoots of hope.
Blur have had a wonderful career, and their legendary status is long cemented. What is truly special now is the band now seems more emotionally attached, and reflective. This is a band that has scaled the heights and delivered top-tier performances at huge events before, but there is a different vibe to this gig. There is nothing left for them to prove, and that translates to this confident act. Many of the protagonists of Blur songs used to have a mid-life crisis, ironically now the band are older themselves they have never seemed happier.
There is some speculation that this might be the end for Blur. Damon has been quoted saying “it’s too much for me” presumably in relation to the emotion he feels when performing. Whether that is the case or not, this live album would be a fitting full stop on their career as the recording captures both the feeling of the songs and the outstanding performance of a band at the peak of their powers, although I personally hope it is just another comma and we get a couple more chapters of the Blur story.
Words by Dave Holgado
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